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Thank you both! I thought I was going to pass out once I realized... and now it's standing here and I'm looking at it!

For those with the latest, or rather last, edition of Cappa, there's a nice example on page 64, nr 89. That vase, or bottle missing it's stopper, is numbered, so it's from 1926-1929, and not from 1925/1926, but what's a couple of years and who's counting anyway ... I stopped years ago.

My latest purchase and the oldest VSL pieces that I've had so far. A pair of hyalite vases, polychrome enamelled and gilt, imitating the Japanese lacquer ware from the late 19th century. Dated 1880 and manufactured at the Herbatte division of VSL and decorated by Monsieur Léon Foller. The décor is called 'Canard au col-vert', literally this translates as duck with green neck, but I think mallard is better.At 30 cm a piece, don't they look nice on my mantelpiece?

(the vase is not damaged at the rim, it's just a shadow from the plant in the window )

Thank you both for your kind words.I didn't realize that they were especially made for mantelpieces. I came across an article and it was mentioned that they were specifically made for this purpose, and I wondered how this conclusion was made, until I realized that they're flat at the back and front... makes sense now. Often a mantel mirror goes all the way down and rests on the surface, so the decoration on the back can be seen too. Here the mirror doesn't reach all the way down and as it has a weight like a dead donkey, I'm not going to move it

I think everybody will agree that, whatever 'house' has your preference, it's always so rewarding to discover new pieces, styles and info as a lot of information gets lost or just 'waters down' with time.

Funny ... when I mentioned 'house' I meant manufacturer ... just realized that now.

Just to get back on track ... one more piece I'd like to show, because I think it's important in art history, not this piece in particular, but more the movement.

At VSL it was also decided, or a temptation was made, to make an end to the Art Nouveau Movement, but it didn't go as fast and strong as for instance the WW movement.

The décor in general had been simplified at the time, but techniques were developed and often combined on one piece. It is still based on a floral/foliage theme but more stylized. Léon Ledru, head of creative designs at the time, collaborated with Philippe Wolfers, Henri Van De Velde and Victor Horta, all big names when it comes to Belgian design. He must have been influenced by their styles, ideas and opinions, and what was created, was a style we call here in Belgium, 'Modern Style' or 'Style Henri Van De Velde'. It was short-lived though, and pieces are not always easy to identify due to lack of signature, but once you've seen it, it's instantly recognisable. For me this is a transition style, going from Art Nouveau to Art Deco.

The small, ball shaped vase, is ruby-red cut to clear, has been cut 'au burin' with satin finish (not sure what the expression in English is, to create this 'hammered' effect) and wheel cut and polished. The curved lines that are cut, are accentuated by the satin finish and personally, i find this particularly effective.

I've added a vase Jonghen Iris, both pieces were presented at the 1897 World Exhibition in Brussels and when you put them next to each other, I guess it's clear why this was called 'Modern Style'.